The text is a transcription of a conference given by Devaux in Glasgow, Scotland. This is the deluxe edition because of the painted front and back covers by Devaux. -- Source of annotation: Marvin or Ruth Sackner.

The cover was designed by Albert Dupont. -- Source of annotation: Marvin or Ruth Sackner.

This is an attack on the writers of the "new" novel by Isou. The watercolor was done by Lemaitre. The ordinary edition is Lettrisme No.17. -- Source of annotation: Marvin or Ruth Sackner.

With age, the artist prefers to be addressed by her last name 'Orlan.' -- Source of annotation: Marvin or Ruth Sackner.

Karl Riha edited this series. -- Source of annotation: Marvin or Ruth Sackner.

This is an advertising promotion that includes an essay on Herman Melville's Moby Dick. -- Source of annotation: Marvin or Ruth Sackner.

This is the first issue of the periodical previously designated Calligraphy Review. Includes an illustrated article on contemporary German gravestones. -- Source of annotation: Marvin or Ruth Sackner.

This is the first issue of the periodical previously designated Calligraphy Review. Includes an illustrated article on contemporary German gravestones. -- Source of annotation: Marvin or Ruth Sackner.

This publication was formerly called Calligraphy Review. The feature article is an interview of Marvin Sackner by editor Karen Gilman on calligraphy by artists in the Sackner Archive. The history of the Archive is discussed and many calligraphic works are illustrated. Leila Arvin contributes an essay on the calligraphic work of Malla Carl. An interview with calligrapher/typographer Jovica Veljovic is titled "The Breathing in Writing." The cover utilized a drawing by Tim Ely. -- Source of annotation: Marvin or Ruth Sackner.

Adele Spindler Roatcap contributed an illustrated essay "Sonia Delaunay: Color Rhythm Simultaneity." -- Source of annotation: Marvin or Ruth Sackner.

Formerly Calligraphy Review. This issue includes an index for Vol.11. -- Source of annotation: Marvin or Ruth Sackner.

The author analyzes each letter of the Roman alphabet in detail, tracing its origin evolution, and form, as well as discussing its important abbreviations, symbols, and associated meanings. Arranged in alphabetical order, twenty-six entries offer a wealth of facts about each letter, establishing correspondences between letters and elements borrowed from a variety of different fields of study ranging from traditioal paleography, phonetics, and graphic arts to the more arcane areas of musicology, esotericism, and even Eastern philosophy. -- Source of annotation: Marvin or Ruth Sackner.

DeCampos responds to a classification system proposed by Houedard by pointing out "visual organization of words, with an overemphasis on relations of proximity and resemblance between them, leads ineluctably to an equivalent overemphasis on sound, implying a dynamical use of paronomasia and alliteration that explains why Brazilian young musicians have been so much interested in many of our seeming eyepoems, and in the making of oral presentations for them." He states he wrote to Hugh Kennerabout Ezra Pound and received a sympathetic response. -- Source of annotation: Marvin or Ruth Sackner.

In this document, Lemaitre expresses unhappiness with Chopin's chapter in the exhibition catalogue of University of Iowa's exhibition on Lettrism. This is stored with Curtay's materials. -- Source of annotation: Marvin or Ruth Sackner.

Discusses sound poetry and body music. -- Source of annotation: Marvin or Ruth Sackner.

This exhibition dealing with the visual appearances of bicycles was curated by Giancarlo Pavanello who also wrote a lengthy introductory essay. -- Source of annotation: Marvin or Ruth Sackner.